Promiscuous πόρναι, Bad Bitches, and Misogynistic Masculinities: A Queer, Imperial-Critical Analysis of Revelation and Rap

2019 ◽  
Vol 27 (1) ◽  
pp. 130-149
Author(s):  
O’neil Van Horn
Keyword(s):  
Hip Hop ◽  
Critical Analysis ◽  
Gender And Sexuality ◽  
Book Of Revelation ◽  
Hip Hop Culture ◽  
First Order ◽  
Resistance Literature ◽  
Hip Hop Music ◽  
Drag Kings ◽  
The Relationship

Abstract If the Book of Revelation is anti-imperial resistance literature of the first order, hip-hop music is its contemporary equivalent – with Kendrick Lamar as one of its most politically sensitized “prophets.” I will explore the intersections, commonalities, and divergences between Revelation 17-18 and rapper Kendrick’s “For Sale? (Interlude),” especially regarding notions of empire, gender, and sexuality. I will draw connections between the characters of “For Sale” – Kendrick and Lucy – and those of Revelation 17-18 – John of Patmos and Babylon. This analysis will reveal the relationship between anti-imperial rhetoric and the troubling “effemination” of empire. I contend that Babylon and Lucy are both figures “in drag,” dis/closing the prevailing imperial and misogynistic forces of their respective cultures. This queer interpretation, playing off Catherine Keller’s and Stephen D. Moore’s reading of the text and J. Jack Halberstam’s study of drag kings, seeks to unveil the hypermasculine performances in both Revelation and contemporary hip-hop culture.

scholarly journals Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"

Panoptikum ◽  
2020 ◽  
pp. 117-130
Author(s):  
Małgorzata Radkiewicz
Keyword(s):  
Gender Identity ◽  
Critical Analysis ◽  
Film Studies ◽  
Gender And Sexuality ◽  
The Body ◽  
Creative Potential ◽  
Feminist Theories ◽  
Feminist Film ◽  
The Relationship ◽  
Film Critic

The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i  film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.

Seven Compact Essays on Color

2019 ◽  
Vol 29 (4) ◽  
pp. 131-209
Keyword(s):  
Hip Hop ◽  
Smart City ◽  
Point Of View ◽  
Hip Hop Culture ◽  
Four Dimensions ◽  
The Enlightenment ◽  
Physical Experiments ◽  
Logical Geometry ◽  
The Relationship

The article is a group effort consisting of an introduction and seven compact essays. It is focused on the problem of color from the perspective of current philosophical discussions on the role of the Enlightenment and the relationship between light and dark. The introduction by Michael Kurtov presents a roadmap for navigating through the seven essays by referring to a schema of “color knowledge” which has four dimensions: luminosity, resolution, saturation, and hue. Each of the texts in the article (the introduction and seven essays) deals mostly with one of “color knowledge”, which are formed by combining three color dimensions. Roman Mikhailov explores the plastic-dynamic correlates of colors and the chromaticity of the text understood broadly both as the text of nature and as an abstract symbolic complex. Eugene Kuchinov offers a “haptic criticism of the Enlightenment,” which is an analysis of color phenomena from the point of view of the skin (not the eye): on the basis of the logic of sensation, color is “viewed” beyond the light, beyond the optics. Yoel Regev develops a hermeneutics of color applied to the Torah: color is interpreted as a deception which is opposed to another deception belonging to a “true enlightenment.” Michael Kurtov addresses a revision of Goethe’s theory of color based on new physical experiments and on the logical geometry of color and then arrives at a critique of contemporary chromo-ideology. Nataliya Tyshkevich reveals the modern political meaning of coloring in the context of the recent “renaissance of modernist aesthetics” in which dealing with form is replaced by dealing with surfaces. Gray Violet describes color and darkness as political functions that turn into each other in the middle of a non-place in the “smart city.” The final piece by Nikita Sazonov elaborates the procedure of colorization by examining noncolor - a resource beyond the colored and the uncolored, most readily manifested in the printed character as well as in modern hip-hop culture.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

Affective Gestures

2017 ◽  
Author(s):  
Miles White
Keyword(s):  
Material Culture ◽  
Community Of Practice ◽  
Hip Hop ◽  
The Body ◽  
Individual Identity ◽  
Historical Evolution ◽  
Hip Hop Culture ◽  
Hip Hop Music

This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.

“What Happens in the Cabin . . .”: An Arts-Based Autoethnography of Underground Hip Hop Song Making

2014 ◽  
Vol 8 (1) ◽  
pp. 1-27 ◽  
Author(s):  
ANTHONY KWAME HARRISON
Keyword(s):  
Hip Hop ◽  
Music Making ◽  
Spontaneous Activities ◽  
Hip Hop Music ◽  
Home Recording ◽  
Recording Studios ◽  
Home Studio ◽  
The Relationship ◽  
Agency And Structure

AbstractTaking an autoethnographic perspective that foregrounds the interplay between the author's artist-self and researcher-self, this article explores the relationship between agency and structure in the activities surrounding underground hip hop music making within a home studio recording space. It aims to demystify the aura of in-studio music creation by focusing on the nexus of oral/written, pre-composed/improvised, and pre-recorded/live creative practices as experienced within the context of performance. Utilizing Harris Berger's notion of stance, I discuss how hip hop recording artists transcend performative self-consciousness in the pursuit of creativity. Ultimately, this article presents hip hop home recording studios as spaces that facilitate particular kinds of musical innovation through a mix of collective and individual pursuits, as well as routinized and spontaneous activities.

Rap, Islam and Jihadi Cool: The attractions of the Western jihadi subculture

2021 ◽  
pp. 174165902110255
Author(s):  
Sune Qvotrup Jensen ◽  
Jeppe Fuglsang Larsen ◽  
Sveinung Sandberg
Keyword(s):  
Hip Hop ◽  
Historical Analysis ◽  
Recent Scholarship ◽  
Hip Hop Music ◽  
Hybrid Culture ◽  
History Of ◽  
The Aesthetic ◽  
The Relationship ◽  
Insight Into

Recent scholarship has explored the potential of subcultural theory for understanding the convergence of Western street and jihadi subcultures. The role of jihadi rap in this radical hybrid culture, however, is yet uncharted. We argue that subcultural analysis allows an understanding of the aesthetic fascination of jihadism, sometimes referred to as jihadi cool, and that jihadi rap should be seen as an integrated part of this cultural amalgam. To better understand the role of hip-hop in the hybrid street-jihadi culture, this paper offers a historical analysis of the relationship between hip-hop and Islam and detailed insight into the more contemporary, and marginal, phenomena of jihadi rap. We track the continuities and discontinuities from the presence of Black Islam in early hip hop to recent convergences between hip hop and jihadism. Our analysis draws on Lévi-Strauss concepts of bricolage and floating signifiers. Subcultures and hip-hop music are seen as bricolages that draw on a multitude of cultural references with their own particular history. In these cultural bricolages, Islam often acts as a floating signifier, with different and often ambiguous meanings. We argue and demonstrate that Islam has a long history of being part of hip-hop rebellion and attraction and that this, channelled through jihadi rap, can contribute to jihadi cool and the contemporary pull of Western jihadi subcultures.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

Investigating Cultural Collision: Educators’ Perceptions of Hip-Hop Culture

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Floyd D. Beachum
Keyword(s):  
Hip Hop ◽  
Energy Drinks ◽  
Hip Hop Culture ◽  
Television Programming ◽  
Hip Hop Music ◽  
The Media

AbstractHip-hop music has been embraced worldwide by youth, pummeled in the media for supposedly increasing social misery and hailed as a significant musical breakthrough. Hip-hop culture has transcended musical boundaries and now impacts speech, clothing, mannerisms, movies, websites, television programming, magazines, and energy drinks (

Transcultural Voices

2021 ◽  
Author(s):  
Jaspal Naveel Singh
Keyword(s):  
Identity Construction ◽  
Hip Hop ◽  
Gender And Sexuality ◽  
Global Culture ◽  
Hip Hop Culture ◽  
Linguistic Ethnography ◽  
Discourse Studies

This book presents the narratives and voices of young, mostly male practitioners of hip hop culture in Delhi, India. Through a combination of linguistic ethnography, sociolinguistics and discourse studies, the book addresses issues including gender and sexuality, identity construction and global culture.

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